About The Music Although the total surviving body of guitar music from the early nineteenth century is vast, yet there are few compositions that can be classified as “major works.” Attempts at, for instance, sonata-allegro form are rare compared to the enormous volume of ‘waltzes, minuets, andantes, and so on. Nevertheless the two most able composers, Sor and Giuliani, were able to approach the larger canvas and two single-movement examples are included: Sor’s Grand Solo and Giuliani's Grand Overture. Both are eminently perform- able on the concert stage, and both use the guitar in the grand manner with orchestral suggestions in the texture. Themes and variations were immensely popular as a form, and tended to suit the ‘guitar because of the uniformity of key which avoided the complications of modulation to difficult positions. The variety appeared in differing rhythmic treatments, with usually a single excursion into the minor mode. Two particularly successful examples are included, Giuliani’s variations on the Harmonious Blacksmith theme, and Sor’s treatment of the ever popular Folies d’Espagne. For two guitars Diabelli’s Variations on a Favorite Theme affords light-hearted entertainment of a type very characteristic of the period. Giuliani's Sonatina from Opus 71 is a beginner's piece, chosen in preference to many similar examples by Carulli, Carcassi and others because even within the confines of the first position the imaginativeness of the better composer is very apparent. ‘Arrangements of operatic themes were popular in the period, but are sparsely repre- sented here on the assumption that a large measure of their original success was due to the fact that the tunes were already well-known which is rarely the case today. A large body of studies have been included, not only because they provide attractive material for less advanced players, but also because the composers included some of their most charming melodies in the instructional methods that they all wrote, possibly because these methods had the potential of much wider sales than individual works or small collections. For duet players a variety of works have been included, including a complete edition of Sor’s delightful Opus 53. A very popular form of duo involved the use by the first ‘guitar of a capotasto (or capodastro) clamped onto the third fret of a conventional guitar, or alternatively the use of a smaller (Terz) guitar tuned a minor third higher. The Diabelli duet is an example of this combination. Any prejudice that may exist against the use of this device with the classical guitar should be dispelled by the knowledge that Giuliani's nickname given to him by a frivolous secret society to which he belonged was Vilac Umo Capodastro.* Ultimately, the choice of music has been based on melodic quality, since I believe that those who play the guitar are particularly concemed with melody, and a personal liking for the selected works. I realize that the collection heavily favors the work of Sor and Giuliani; but after examining literally hundreds of compositions of other composers of the period in the hope of finding a neglected masterpiece, I have come to the conclu- sion that there is a considerable qualitative gap between these two leading figures and all. their competitors. To represent the lesser composers would have entailed robbing space from the better ones, and as this is not an historical work, the decision to emphasize Sor and Giuliani seemed unavoidable. The only significant regret 1 have is the inability to include good representative works of Paganini, who was a considerable guitarist as well as violinist. The only unpublished compositions that I have so far been able to acquire have not been up to the required standard, and I can only hope that in a later work I may be able to do justice to the guitar compositions of this remarkable man. In conclusion may I wish the reader much enjoyment in exploring some of the treasures of this period. FREDERICK NOAD ‘Heck, Op. cit, Vol Ip. 117. 10e © com SSD GUITAR. EF. CARnmELE Ouilarren, von Prix 4 Francs. Chez N.Simreck 4 BonnAndante ‘This Andante and the three pieces which follow are from Carulli’s Méthode Complte Op. 27, composed for the instruction of his son Gustav. The popularity of these simple studies is evidenced by the continuous reprinting of them from the early nineteenth ‘century until the present day. It is important 10 place the left hand 4th finger correctly on its tip to avoid touching ‘and muting the open E string. ‘Suggested tempo is a, Ferdinando Carli (1770-1841) 12